Building the First Theatre in England – 5

Such was the end of the first short-lived London playhouse.

Continuing Building the First Theatre In England,
our selection from Karl Mantzius. The selection is presented in six easy 5 minute installments.

Previously in Building the First Theatre In England.

Time: 1576
Place: London

One of the paragraphs in the account of the subsequent lawsuit between Allen and the Burbages gives a very vivid idea of this remarkable removal. Allen accuses Cuthbert Burbage of “unlawfully combininge and confederatinge himselfe with the sayd Richard Burbage, and one Peter Streat, William Smyth and divers other persons, to the number of twelve, to your subject unknowne, did aboute the eight and twentyth daye of December in the one and fortyth yeere of your Highnes raygne (1598) ryotouslye assemble themselves together, and then and there armed themselves with dyvers and manye unlawfull and offensive weapons, as, namelye, swordes, daggers, billes, axes, and such like, and so armed, did then repayre unto the sayd Theatre, and then and there, armed as aforesayd, in verye ryotous, outragious and forcyble manner, and contrarye to the lawes of your highnes realme, attempted to pull down the sayd Theatre, whereupon divers of your subjectes, servauntes, and farmers, there goinge aboute in peaceable manner to procure them to desist from that their unlawfull enterpryse, they the sayd ryotous persons aforesayd notwithstanding procured then therein with greate vyolence, not only then and there forcyblye and ryotouslye resisting your subjectes, servauntes, and farmers, but also then and there pulling, breaking, and throwing downe the sayd Theatre in verye outragious, violent, and riotous sort, to the great disturbance and terrefyeing not onlye of your subjectes sayd servauntes and farmers, but of divers others of your Majesties loving subjectes there neere inhabitinge; and having so done, did then alsoe in most forcible and ryotous manner take and carrye away from thence all the wood and timber thereof, unto the Bancksyde in the parishe of St. Marye Overyes, and there erected a newe playehouse with the sayd timber and wood.”

Such was the end of the first short-lived London playhouse. But the new house, which was built out of its materials on the “Bankside,” was the celebrated “Globe,” the name of which is inseparably connected with that of Shakespeare.

As we said above, James Burbage, the creator of The Theatre, belonged to the company which played under the patronage of Lord Leicester, and therefore went under the name of “Lord Leicester’s Servants” or “Men.” The four other actors, who in 1574 received a royal license to act from Queen Elizabeth, were John Perkin, John Lanham, William Jonson, and Robert Wilson.

While James Burbage was no doubt the leader of the company, Robert Wilson is supposed to have been its chief actor, at all events of comic parts, and he was the only one among the five who was also a dramatic author. Under his name, but after his death, Cuthbert Burbage published, in 1594, _The Prophecy of the Cobbler_; and among anonymous plays the following are ascribed to him: _Fair Eve, The Miller’s Daughter from Manchester, The Three Ladies of London_, etc.

Most likely some of Wilson’s plays were acted in The Theatre. With this exception the internal history of this playhouse is rather obscure, and very little is known of its _répertoire_. A few titles may be found in contemporary literature, such as _The Blacksmith’s Daughter_, mentioned by the Puritan Gosson in his _School of Abuse_, as “containing the treachery of Turks, the honorable bounty of a noble mind, the shining of virtue in distress,” _The Conspiracy of Catilina, Cæsar and Pompey_, and _The Play about the Fabians_.

All these must have belonged to the earliest répertoire of The Theatre, for Gosson’s _School of Abuse_ appeared in 1579.

It is of more interest that Thomas Lodge mentions the original pre-Shakespearean _Hamlet_ as having been acted in The Theatre. He speaks of one who “looks as pale as the visard of the ghost which cries so miserably at The Theatre, like an oister-wife, ‘Hamlet revenge.'”

The same company, originally “Lord Leicester’s Servants,” continued to act in The Theatre till it was pulled down. But the company several times changed its patron and consequently its name. In 1588 Lord Leicester died, and after his death Ferdinando Stanley, Lord Strange, became the patron of the company; till 1592, therefore, the actors were called “Lord Strange’s Men.” But in 1592 Lord Strange was created earl of Derby; consequently the troupe became for two years “The Earl of Derby’s Men.” In 1594 the Earl of Derby died, and Henry Carey, first Lord Hunsdon and lord chamberlain, undertook to become patron of the company, which, therefore, adopted the name of “The Lord Chamberlain’s Servants.” The son of Lord Hunsdon, George Carey, second Lord Hunsdon, after his father’s death (in 1596) also inherited the patronage of the actors, and for almost a year they had to content themselves with being called “Lord Hunsdon’s Men,” until Lord Hunsdon became lord chamberlain, like his father, and allowed the company to resume the title of “The Lord Chamberlain’s Servants,” 1597. This name the actors retained until the accession of King James, in 1603, after which they were promoted to the title of “The King’s Players”; this title put them in the first rank, which, indeed, they had long held in reality, and which they kept till the suppression of the playhouses in 1642.

It is no slight task for one who desires to study theatrical affairs in the time of Shakespeare, to make himself acquainted with the varying names of the companies of actors; but without such knowledge it would be very difficult to pursue the thread of the history even of the leading companies.

About the year 1590 our company received an addition in the person of a young man, who was not only a skilled and useful actor, but who also possessed the accomplishment of being able to adapt older plays to the taste of the times, and even proved to have the gift of writing tolerably good plays himself, though older and jealous colleagues might hint at their not being altogether original. This young man, whose capacities became of no slight use to the company and The Theatre, was named William Shakespeare.

At this time the leading actors of The Theatre were the great tragedian Richard Burbage, who was then quite a young man, Henry Condell, and John Heminge, who continued to be the mainstays of the company. There was also the clown, Augustine Phillips, an excellent comic actor of the old school. These four became the most intimate friends of Shakespeare, and to Condell and Heminge posterity owes special gratitude, since it was they who, after the death of Shakespeare, undertook the publication of the first printed collection of his plays.

It is impossible to decide definitely which of Shakespeare’s plays belonged to the repertoire of The Theatre. It is probable that his first plays, _Love’s Labor Lost, The Comedy of Errors, The Two Gentlemen of Verona_, and his first tragedy, _Romeo and Juliet_, saw the light on this stage between 1589 and 1591. Afterward, between 1594 and 1597, these were possibly increased by _A Midsummer Night’s Dream, Richard the Second, King John, The Merchant of Venice_, and _Henry IV_.

Continued.

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